Photos by Luis Escobar, Reflections Photography Studio
Production dates July 18-August 25, 2024.
Powerful and moving, PCPA’s Cabaret is much more than just fun and laughs. From the first musical downbeat to the arresting final scene, hold on for a wild ride.
PCPA has truly outdone itself with its latest production of the highly acclaimed 1966 American musical, based on a 1951 play, that in turn was based on a 1939 novel by Christopher Isherwood about Wiemar-era life in the short-lived pre-Nazi German democracy of the 1930s.
The musical score is flawless and complex in its study of humanity (music and lyrics are by John Kander and Fred Ebb, with book by Joe Masteroff).
Cabaret is not recommended for children due to its themes, language, and adult scenes. It is, however, highly recommended for anyone else who wants to be entertained, charmed, and in the end, emotionally moved. You will laugh, tap your feet, and possibly cry.
First it must be said what a creative masterpiece this particular production is. Emily Trask’s gutsy vision and clean direction are top notch. The audience is led through a myriad of scenes at the Kit Kat Klub, where life is beautiful, and we watch the demise of the characters’ free lifestyles as Naziism begins to make its rise.
At the same time, an unexpected love blooms. In today’s shifting political environment where dictatorship may look familiar to some, this show reminds us why we must cling to and fight for democracy. The alternative is grim and haunting, like the final moments of this visually powerful production.
The gorgeous choreography by Rhett Guter, like the story, is gritty and raw. The dances are aptly full of emotions, spirit, and individuality of character. It is a feast for the eyes in every way.
PCPA has some of the best talent on the Central Coast. Perhaps it should, as a conservatory for the performing arts, but the actors in Cabaret deserve awards for stellar performances.The absolute hands-down best overall performance award goes to Diva LaMarr as Emcee, the gender-fluid host of the Kit Kat Klub. LaMarr’s performance is legendary and unforgettable.
The best actress award deservedly goes to Erika Olson, who delivers an uncanny performance as Sally Bowles, the toast of Mayfair. Olson’s Bowles is charming, worldly, and confident while finding moments to be vulnerable and child-like. She wows with her smile, voice, and the sheer amount of energy she exudes.
Best supporting awards go to George Walker as a naive American novelist, Billy Breed as Herr Schultz, and Samantha Nakagaki (the understudy the night of this review) as a boarding house hostess with a hard decision to make, and Molly Dobbs as a pro-German working girl. The entire cast does a most outstanding job.
Cabaret’s sets, designed with finesse by Jason Bolon, are a mix of rundown rooms to let, the glamorous two-story Kit Kat Klub, a train car, and backstage in the club’s dressing room. Cody Soper’s excellent lighting lends itself to the story well, from the soft amber lights of “ It Couldn’t Please Me More,” to the harsh white spotlight in the opening number “Willkommen,” to the quick blackout used in the finale.
The musical direction by Paul Marszalkowski is spot-on for jazz in the 1930s. The members of the “orchestra,” a jazz ensemble on the second story of the club dressed in costume, are authentic and absolutely enchanting.
Costume designer Jackie Heimel had the dream job of dressing each actor in a 1930s design befitting their character and scene: wild Kit Kat girls and boys, scintillating in their scantily clad costumes; the lead actress in a classic fur coat; the Emcee’s amazing works of art. Every outfit is an extravaganza of imagination, including amazing wigs and hair-dos, men’s fedoras and bowler hats, timeless suits, and oh, the shoes, which I could discuss at length (but no spoilers here).
Cabaret plays in Santa Maria until July 27, then moves to the Solvang Festival Theater August 2-25.